


OF THE 

MAKING OF A BOOK 

A FEW TECHNICAL SUGGESTIONS 

INTENDED TO SERVE AS 

AIDS TO AUTHORS 



"Look, Lucius, here's the book I sought for so." 

Julius Cesar, Act iv, Scene 3. 





COMPILED BY THE LITERARY DEPARTMENT OF 

D. APPLETON AND COMPANY 

436 FIFTH AVENUE, NEW YORK 

1004 



PRICE, 50 CENTS 





Qass. 
Book_ 



PRESENTED BY 



OF THE MAKING OF A BOOK 



OF THE 

MAKING OF A BOOK 

A FEW TECHNICAL SUGGESTIONS 

INTENDED TO SERVE AS 

AIDS TO AUTHORS 



M Look, Lucius, here's the book I sought for so." 

Julius Cesar, Act iv, Scene 3. 




COMPILED BY THE LITERARY DEPARTMENT OF 

D. APPLETON AND COMPANY 

436 FIFTH AVENUE, NEW YORK 
1904 







Copyright, 1904, by 
D. APPLETON AND COMPANY 



irtOAvCxjs lAnAXLvufr 3mM 






Mr'Q4 c : 



CONTENTS 



PAGE 

I. Apologia l 

II. Of the Manuscript ... 7 

III. Of Composition and the 

Proofs 19 

IV. Of the Proof-Reading • . 27 
V. Of the Illustrations . . 37 

VI. Of Publicity 47 

Index 53 



APOLOGIA 

" Oh, pardon me, my stars !" 
Love's Labor's Lost. 
Act III, Scene i. 



APOLOGIA 

THESE suggestions were under- 
taken in the hope that they 
would not prove to be a work of su- 
pererogation. In some instances these 
anticipations, in the nature of things, 
will be disappointed. There are au- 
thors whose care and precision, in the 
preparation of their manuscripts, and 
the reading of their proofs, may put 
to shame the work of editors and 
printers. As help to such as these, 
the book is not intended. It is merely 
hoped that it may interest them, and 
that they, perhaps, will see how it 
might have been made better. 

The art of printing is so largely a 
mechanical art, with fixed restrictions 
as to what can and what can not be 
3 



OF THE MAKING OF A BOOK 

done within a given space of type, 
that even the experienced writer will 
sometimes find himself confronted with 
results that had not occurred to him 
as possible. Perhaps there never yet 
was made a book in which authors' 
errors did not exist, as, indeed, it is 
probable that there never existed one 
which was absolutely correct as to its 
type. Eternal vigilance is as clearly 
the price of correct book-making as 
of liberty. For these reasons the 
experienced author may be able to 
appreciate the motives which have 
prompted these hints. 

To authors who are strangers to 
the details of type-setting and "make- 
up," perhaps no apology for the in- 
trusion will be necessary. It comes 
constantly within the experience of 
publishers to be asked for information 
about these matters, and while it is a 
pleasure always to give it, a brief con- 
versation or a few letters often fail, 
4 



APOLOGIA 



on the one hand to make the point 
clear, and on the other to cover the 
necessary ground. 

Within these pages an attempt has 
been made to set forth the essential 
points briefly and yet with some com- 
prehensiveness. The experience of 
many years and of many persons has 
been drawn upon and recognized au- 
thorities have been consulted. Those 
who have had a share in the compila- 
tion understand how important these 
points are — how common it is for the 
experienced author to neglect them, 
and how they themselves are seldom 
wholly guiltless of infractions of the 
rules. 

F. W. H. 



II 

OF THE MANUSCRIPT 

"I writ at random, very doubtfully." 
Two Gentlemen of Verona. 

Act III, Scene i. 



II 

OF THE MANUSCRIPT 



MANUSCRIPTS should be sub- Paper 
mitted either in typewriting 



or in handwriting that is perfectly 
legible. Black ink should be used. 
The paper should be white, of medium 
weight, and uniform in size. The 
number of words written on each page 
should be approximately the same. 
Small sheets are to be preferred, 8X10 
being the best size. There should be 
half an inch of space between the 
lines, whether the manuscript be writ- 
ten by hand or on a typewriter, and 
the writing should be on one side 
of the sheet only. Liberal margins 
should be left both at the top and 
at the left-hand side. Typewritten 
manuscripts are always best. Prob- 
9 



Margins 



OF THE MAKING OF A BOOK 

ably three-fourths of the manuscripts 
now submitted to publishers are type- 
written. 
Page The pages should be numbered 

Numbers consecutively to the end of the book, 
not separately by chapters. Inserted 
pages, following for example page 
25, should be numbered as 25a, 25b, 
25c, etc. Pages that have been taken 
out should likewise be accounted for. 
If pages 25, 26, 27, and 28 have been 
eliminated, sheet 24 should be num- 
bered " 24-28." Additions at special 
places on the original pages, intended 
as insertions, should be written on sep- 
arate sheets, placed with the pages in 
which they are to be inserted, and the 
place of insertion indicated thus: 
" Here insert A," or " Here insert 
B," the new pages being marked "A 
matter," or " B matter." 
Muci- When one piece of a page is to be 

lag e and joined to another, pins should not be 
^ used, but mucilage. Pieces of paper 

10 



OF THE MANUSCRIPT 

pinned together are in danger of be- 
ing separated, and thus may easily 
be lost or may get hopelessly dis- 
arranged. 

The manuscript should never have 
the sheets fastened to one another at 
the top or side, except by means of 
clips, which are easily removable. If 
they are sewn together, or fastened 
with eyelets, the printers in separat- 
ing the sheets will mutilate them and 
often injure them seriously. This 
point will be understood by those 
who know that each printer puts into 
type only a part of the manuscript, 
and sometimes only a few pages. 

Paragraphs should be carefully in- Para- 
dicated by indenting the first line graphs 
about one-half inch, or by a ^f mark ; 
otherwise it will be difficult for the 
printers to determine satisfactorily 
the intentions of the author in re- 
gard to them. Should the printer's 
arrangement, as shown when the 
11 



OF THE MAKING OF A BOOK 

proofs arrive, be found unsatisfac- 
tory, an alteration must be charged as 
the author's. Paragraphs should oc- 
cur frequently. Ordinarily not more 
than 200, or at most 300, words 
should appear in one paragraph. 
Punc- Punctuation marks should also be 

tuahon car efully made; failures to indicate 
them systematically are constant 
sources of error. 
Chapters A book containing 80,000 words 
should have at least ten chapters. 
Fifteen would seldom be too many. 
The number might even be twenty. 
In a history or biography, or in any 
work of a serious kind, these subdivi- 
sions help materially to open up the 
text, showing the reader on a hasty 
examination something of the con- 
tents. 
Chapter Each chapter should be provided 
Titles w -^] 1 a .j^le of its own. This applies 
to fiction as well as to other books. 
When the volume is printed, the chap- 
12 



OF THE MANUSCRIPT 

ter titles will appear reproduced at 
the top of each right-hand page, with 
the title of the book at the top of each 
left-hand page. This will materially 
assist the reader in examining the 
book. Historical and biographical 
works should have date-lines accom- 
panying each chapter title. 

Quotation marks should always be Quota- 
carefully indicated, showing where il0ns 
the quoted passage begins and where 
it ends. 

Foot-notes should be clearly desig- Foot- 
noted. A systematic method should notes 
be employed to distinguish them from 
the text. Some authors separate text 
and notes by heavy lines across the 
page, which is a good method. The 
word " foot-note " should be written 
on this matter, and it should be sup- 
plied with an asterisk ( * ), a corre- 
sponding asterisk ( * ) appearing in 
the text, or with a figure 1. In a new 
book foot-notes should be used spar- 
13 



OF THE MAKING OF A BOOK 

ingly. Whenever possible the infor- 
mation should be incorporated in the 
text. When the information consists 
of citations or references, however, it 
often can not go anywhere else than 
in foot-notes. 
Foreign The utmost care should be taken to 

Words, write proper names, figures, foreign 
etc 

words and phrases plainly and in full. 

Abbreviations and signs, such as MS., 
etc., Fig., and the like, should not be 
used in a purely literary work, but are 
admissible in text-books, cyclopedias, 
and other condensed and utilitarian 
writings. 
Title- Until reminded of delay authors 

"pages, sometimes fail to supply essential por- 
rejaces, ^ ons f their manuscripts, such as ti- 
tle-pages, prefaces, tables of contents, 
lists of illustrations, and indexes when 
necessary. These items are important 
parts of a book, and all, except the 
index, should be delivered with the 
manuscript. 

14 



OF THE MANUSCRIPT 

The index of a book should not be Index 
furnished on cards or slips, but on 
sheets of the same size as the paper 
used for the manuscript of the text. 
The cards, or slips, used in making 
the index can, however, be pasted on 
sheets, and delivered in that form. 
Technical books should be indexed as 
fully as possible, and cross-references 
should be made. For example, in a 
medical book " abscess of the cornea " 
should appear both under " Abscess, 
of the cornea " and under " Corneal 
abscess." 

The index is usually made from 
the page-proofs. It is desirable to 
have the manuscript of the index 
ready for the printers at the earliest 
moment, so that the printing may not 
be delayed. But in case serious cor- 
rections have been made on the page- 
proofs, resulting in any change in 
the page numbers, the index should, 
without fail, be verified later from 
15 



OF THE MAKING OF A BOOK 

the foundry-proofs which show the 
I pages as they will appear when 

printed. 
Kinds of Whenever the plan of a book calls 
•*yP e for two kinds of type, a larger kind 
for the main text, and a smaller for 
quoted passages (or for other matter 
less important than the main text), 
the manuscript should have the two 
kinds clearly distinguished from one 
another. This is best done by draw- 
ing a vertical line alongside the 
quoted passages with the words 
" smaller type " written on the line. 
Head- Technical books, which require 

mgs many heads and subheads, should have 

the character of the heads indicated: 
main heads, by three lines under- 
neath them; subheads, by a double 
line, and side-heads (composed of the 
first words of a paragraph) by a 
wavy line. 

In indicating capital, small capi- 
tal, and italic words, one line under- 
16 



♦ 



OF THE MANUSCRIPT 

scored means italics; two lines mean 
small capitals, and three lines capitals. 

In submitting a manuscript to a Sum- 
publishing house, with a view to an 'mmies 
opinion as to its availability, an au- 
thor should send a brief but precise 
summary of its scope and purposes. 
This will facilitate an examination 
of the manuscript by the publishers' 
" readers," and thus hasten the deci- 
sion for which the author waits. 

Let it be urged that the manuscript Correct 

be delivered in final and complete form Manu- 

s en Xft 
just as the author wishes it printed. 

To correct manuscript requires merely 
the stroke of a pen; while to correct 
type is laborious and expensive. The 
cost of authors' corrections in the 
proofs could be avoided entirely if the 
original manuscript were made ab- 
solutely correct. It should be gone 
over with great care before it is for- 
warded to the publishers. Especially 
should typewriters' errors as to punc- 
17 



OF THE MAKING OF A BOOK 

tuation and the use of capitals be 
corrected. 

The type-setter works " by the 

piece " ; his wages depend upon the 

amount of work he can perform, and 

this amount depends directly upon the 

legibility and systematic arrangement 

of the manuscript. 

By Ex- Manuscripts should never be rolled 

press or folded, but placed flat, in a box or 

between boards. They should be sent 

by express. The charge is usually less 

than if sent by mail, and the package 

can be more easily traced in case it 

is lost in transit. 

Return of After the author has read his gal- 

Manu- ley-proofs, he should in all cases re- 

turn his manuscript to the printer, 

so that the proof-reader may be able 

to refer to it in deciding any question 

in dispute in the final reading. 



18 



Ill 

OF COMPOSITION AND THE 
PROOFS 

"Oh, sir, we quarrel in print, by the book." 
As You Like It. 
Act V, Scene iv. 



Ill 

OF COMPOSITION AND THE 
PROOFS 

WHEN the composition (which Galley- 
means type-setting, whether proofs 
by hand or by machine) has been be- 
gun, the lines of type are laid by the 
printer in a long, narrow, shallow re- 
ceptacle of metal known as a galley. 
Type enough to make three or four 
pages of a book can be placed on one 
of these galleys. The first proof is 
taken from this type, and hence is 
known as a galley-proof. After sev- 
eral galleys have been filled with type 
(usually ten or twenty), proofs of the 
matter are taken and read by proof- 
readers, and the type-setters' errors 
corrected; then new galley-proofs, 
with the manuscript, are sent to the 
21 



OF THE MAKING OF A BOOK 

author, who is expected to read, cor- 
rect, and return these proofs with the 
manuscript. Meanwhile, the compo- 
sition is continued by the printers, 
proofs are again read and corrected, 
and another set of ten or more galley- 
proofs is sent to the author. 
Revised On receipt by the printers of the 
Proofs galley-proofs from the author, with 
his corrections marked on them (these 
proofs now taking the name of " foul 
proofs "), the corrections are made in 
the type, still standing in the galley, 
and new proofs are then taken. The 
new proofs are known as " revised 
proofs," or " revises," to distinguish 
them from the first galley-proofs. 
The " revises " are not sent to the 
author unless especially requested. 
But the proof-readers go carefully 
over them to see that all changes have 
been accurately made in the type. 
Page- The type is now ready to be made 

proofs U p j n j. Q p a g es# a given number of 

22 



COMPOSITION AND PROOFS 

type-lines on the galley are measured 
off, lifted out, and placed on a table. 
The page-heading is then set and 
added at the top, with a figure at the 
end, or at the bottom of the page, 
to denote the page number. These 
pages of type are tied together with 
twine to hold them fast and proofs 
are taken. These are known as " page- 
proofs," and are supposed to contain 
no errors. Lest there should have 
been some slip by the author in his 
first reading, or by the compositor 
in making the author's changes, the 
page-proofs are sent to the author, 
together with the foul proofs, in order 
that the author may see if his correc- 
tions and changes have all been prop- 
erly made. 

The type-pages are then ready for Plate- 
casting at the foundry. An electro- proofs 
type plate for each page is made, this 
plate being a solid piece of metal. 
Meanwhile the type is sent back to 
23 



OF THE MAKING OF A BOOK 

the composing-room and distributed 
in its original cases, or melted up, 
because the book is to be printed 
from the plates and not from the type. 
Proofs, however^ had been taken 
from the type-pages just before the 
plates were made. These are known 
as " plate-proofs," or " foundry- 
proofs," and a set of them is usually 
sent to the author. In technical 
books a careful reading of these final 
proofs should take place. Any er- 
rors should be reported without delay, 
as the book is usually printed as soon 
as these plates are ready. An author 
can not be too prompt at this point. 
Foundry- Foundry-proofs are distinguished 
proofs from others by a heavy, black rule 
around the page made by ink from 
the pieces of metal, known as 
" guards," which are placed about 
the type to hold it fast while the cast 
is taken, these pieces of metal having 
taken the place of the twine. 
24 



COMPOSITION AND PROOFS 

Nearly all proofs are taken on wet 
paper from a hand-press, which pre- 
vents the letters from looking clean 
and sharp. The same is true of the 
proofs of illustrations taken by the 
printers. But if the proofs of illus- 
trations be engravers' proofs, they 
show the illustrations about as they 
will appear in the book. 



25 



IV 

OF THE PROOF-READING 

" When I do see the very book indeed, 
Where all my sins are writ." 

King Richard II. 
Act IV, Scene i. 



s e 




IV 

OF THE PROOF-READING 

WHEN the proofs first reach the Cor- 

author, they are supposed meeting 
to conform accurately to the maim- proofs 
script as the author has furnished it. 
The compositor has completed his part 
of the work up to that point. Proofs, 
both galley and page, are sent to 
the author in duplicate, the galley- 
proofs being accompanied by the 
manuscript. The author should make 
all his corrections on the set having 
a memorandum stamped in red, and 
return them, with the manuscript, 
to the publisher. The duplicate set 
of proofs should be retained by him 
for purposes of reference, or for use 
in case the originals should be lost. 
The author ought to transfer to his 
duplicate set the changes he has made 



SPECIMEN PROOF SHE 




SPECIMEN PROOF SHEET 



formed the subject of his poem entitled "The Ship- 
heard of after she passed the Cape : the poet of ' ■ The 
by the same disaster he had himself so graphically 



. The subject of "The Shipwreck," and its author's 
fate, demand our interest and sympathy. — If we pay 
respect to the ingenious scholar who compiled the 



OF THE MAKING OF A BOOK 

on the set he sends back to the print- 
ers. All proofs stamped in red must 
go back to the printers — galley, page, 
and foundry proofs. 
Charges A clause in the contract between 
I h ' ^ e au ^ or an ^ the publishers pro- 
Correc- vides that the publishers shall pay 
tions only a fixed percentage of the cost of 
the author's proof corrections, this 
percentage being reckoned on the 
original cost of the composition and 
electrotype plates. For example, in a 
book of 400 pages, which costs for 
composition and plates $400, there 
would be an allowance to the author 
of $40 for corrections, if the percent- 
age were 10 per cent, or $60 in case 
the percentage were 15 per cent. 
When authors get their first royalty 
statements, they often fail to under- 
stand why this sum was exceeded, es- 
pecially if they are not acquainted 
with the details of type-setting and 
electrotyping. 

30 



OF THE PROOF-READING 

To add a single word in the proofs, Where 

if the word be of different length from Danger 

l/inrlc^ 

the excluded word, may involve the re- 
setting of several lines ; while, to add 
a single word after the plate has been 
made, may sometimes cost as much as 
the original composition and plate of 
an entire page. In type set by ma- 
chine, the changing of a single letter 
or punctuation mark requires the re- 
setting of the entire line. 

To insure the least cost, all author's 
corrections should be made on the 
first galley-proofs. Corrections in 
galley-proofs can be minimized with 
a little care. When confined to the 
occasional substitution of one word 
or of several words of about the same 
length, the cost is usually small. But 
the cancelation or addition of half 
a line will require an overrunning of 
type from that point to the end of 
the paragraph, which may mean the 
space of a page, or even more if the 
31 



OF THE MAKING OF A BOOK 

paragraph is a long one. If several 
other changes should be made in the 
same paragraph, it would be found 
easier to reset the entire paragraph, 
doubling the cost. A galley-proof 
sometimes contains so many correc- 
tions that the entire galley must be 
reset. 
Costly An author should never make al- 

Correc- terations on a page-proof, if he can 
avoid doing so. In the galleys there 
is flexibility for additions and sub- 
tractions, but in the pages the mass 
of type is fixed accurately to the line. 
When an author makes a change in 
a page-proof, it should be remem- 
bered that if several words or a sen- 
tence are added, it may be necessary 
for the printers practically to reset 
every line on that page, and possibly 
to overrun all pages to the end of the 
chapter. Should the pages contain 
cuts, this difficulty will become still 
greater, so that it might be less costly 
32 



OF THE PROOF-READING 



to reset the entire page, or even more. 
Corrections in page-proofs, therefore, 
when made at all, should, if possible, 
be limited to the space of the page, 
the matter taken out and the new mat- 
ter put in containing the same number 
of letters. 

When the author's page-proofs Foundry- 
arid foul proofs have been returned to reading 
the printers, any new corrections in- 
dicated by the author are made in the 
type. A proof-reader again reads 
the pages over, to make it certain 
that the first proof-reader and the 
author have not overlooked any er- 
rors. This is called foundry-reading. 
Should the foundry-reader detect any 
errors due to the author's oversight 
in going over his proofs, he either 
corrects the error or returns the page 
on which it occurs for the author to 
answer the query or approve of the 
correction. 

On all proofs the abbreviation Queries 



OF THE MAKING OF A BOOK 

" Qy«" f° r " query," or a question 
mark ( ? ), should always be an- 
swered. Such memoranda indicate 
that a question has arisen with the 
printers, as to a statement made or 
an apparent inconsistency, and the 
author alone can answer it. 

After the plates have been cast, 
corrections are sometimes asked for 
which might have been made in the 
galley-proofs or in the original man- 
uscript. Corrections in plates are 
very difficult and always costly. Only 
the simplest changes can be made with- 
out resetting and recasting. 
Publisher Letters about corrections should 
and no |. b e sen {. di rec t to the publishers 

i VI 71 f BY 

unless it should have been found im- 
possible to make the corrections on the 
proofs themselves. The publishers' of- 
fice and the printers' place of work 
are usually in different parts of a 
town, if not in different towns, or dif- 
ferent States. 

34 



OF THE PROOF-READING 

If corrections are to be made for 
a new edition of a book, the author 
should ask the publisher to send a 
set of sheets on which to mark the 
corrections. By this means accuracy 
will be best secured. 

Let it be repeated that all proofs Return 
should be returned promptly. The "roofs 
holding back of proofs delays publi- 
cation. Pages can not be made up 
until the return of galley-proofs in 
consecutive order. If there are seri- 
ous delays, the publishers may not be 
able to issue the book at the proper 
season, or at the propitious time. 
The loss thus incurred will fall on the 
author as well as the publisher. 

Authors unfamiliar with the tech- Tech- 
nical marks used in correcting proofs J^T 
are referred to the frontispiece of 
this book, where is given a specimen 
of a corrected proof-sheet, showing 
the markings most commonly used. 
Along with it may be seen the same 
35 



OF THE MAKING OF A BOOK 

page of matter printed from type as 
corrected according to the markings. 
Charges The author sometimes asks if all 
to the changes marked on his proofs are 

made at his expense. The answer is 
that only the corrections which he 
himself makes, or authorizes to be 
made, are charged to him. 

When two or more persons read the 
proofs, one set only — that having the 
printers 5 red stamp on it — embodying 
all the corrections, should be returned 
to the publishers. 



36 



V 

OF THE ILLUSTRATIONS 

" How likest thou the picture,. 
Aperuantus r" 

Timon of Athens. 
Act I, Scene i. 



V 
OF THE ILLUSTRATIONS 

MATERIAL and instructions "En- 
for the illustrations should graver's 
be furnished to the publishers apart ^ 

from the manuscript, as the former, 
known as " engraver's copy," is used 
by the engraver, while the latter, 
" printer's copy," is used only by the 
printers. If the two kinds of copy 
are furnished in one mass, they must 
be separated by the publishers. It 
is not necessary that the places for 
the illustrations be indicated on the 
margins of the manuscript. The 
place for such instructions is on the 
margin of the galley-proofs. 

Drawings, prints, and unmounted 
photographs should not be folded or 
rolled, but furnished flat. Valuable 
39 



OF THE MAKING OF A BOOK 

books, from which cuts are to be 
copied, should be covered with Ma- 
nila paper, in order to avoid soiling 
them by handling in the various de- 
partments of an engraving establish- 
ment. Cuts to be reproduced from 
books should be described in written 
lists, not indicated by slips of paper 
inserted between leaves. Such slips, 
if dropped out by accident, can not 
always be properly replaced. 
Half- Relief cuts, whether engraved in 

tones lJ ne or [ n stipple, can be printed on 
ordinary book paper, but those made 
by the half-tone process require a 
coated paper, which, being less flexi- 
ble in the binding and more expensive, 
is not used except for books contain- 
ing a large number of half-tone 
plates of varying sizes — some full 
page, some set into the text. 

For a book containing no half- 
tones, one class of paper, never coated 
or calendered, is used throughout. 
40 



OF THE ILLUSTRATIONS 

But in a book to be illustrated with "Insets" 
half-tones in addition to the line cuts, 
two kinds must be used — the ordi- 
nary and the coated. In such cases 
it is desirable that the number of half- 
tones shall be limited to 4 or 8 or to 
multiples of 4 or 8. They must each 
be made of the uniform size of a full 
page of the book, so that they can 
be separately printed on the coated 
paper. Such illustrations are pasted 
in by the bookbinder and are called 
insets. Insets add materially to the 
expense of binding. If the half- 
tones are very numerous, it may be 
found best, as a matter of economy, 
to print the entire book on a coated 
paper. Coated paper, however, 
makes a heavy book and is not flex- 
ible. 

Illustrations in colors are usually 
given as full-page insets ; a separate 
printing being required for each 
color. 

41 



OF THE MAKING OF A BOOK 

Proofs When the number of illustrations, 

of Cuts their size and style of treatment, have 
been decided upon, the photographs, 
or drawings, are put into the engrav- 
er's hands. When the plates have 
been made, proofs are sent to the 
author in duplicate, as are galley 
and page proofs of the text. One 
set is for the author's use in attaching 
them at the proper places in the gal- 
ley-proofs, the other is to be kept by 
him. A proof of each cut should be 
carefully pasted on the margin of the 
galley-proof, showing where it is to 
be inserted. Its title should be given, 
and if the cuts are to be numbered as 
" figures," the number should be ac- 
curately written at the bottom of the 
cut. The printer will then place the 
cut at the place in the page most con- 
venient to the one indicated by the 
author. The author should carefully 
examine the cuts and titles on receipt 
of the page-proof. 
42 



OF THE ILLUSTRATIONS 

It is not sufficient to write on the Identifi- 
galley-proof the words " insert cut " cation of 
or " insert portrait " or " cuts al- 
ready made," etc. As stated before, 
a proof of the cut itself must be 
placed there. Among hundreds of 
cuts constantly on hand for " make- 
up " at the office of the publishers, 
there are frequently many which are 
similar in their general appearance 
but quite different in the purposes for 
which they are intended. For exam- 
ple, there may be several pictures of 
the same object, but each different 
from the other in size and style of 
engraving. The printer, it should 
be remembered, has no certain means 
of identifying the cut, except by its 
proof, as furnished by the author. 

Galley-proofs requiring the inser- Text and 
tion of cuts for which engraver's ^ uts 

proofs have not reached the author, 
should be held until the cuts arrive. 
A notification to the publishers that a 
43 



OF THE MAKING OF A BOOK 

certain galley is ready to be returned, 
but requires the proof of a certain 
cut, will hasten the matter. If galleys 
requiring cuts are inadvertently re- 
turned without proofs of the cuts, the 
make-up of pages may go forward 
beyond the point where the cut should 
have been inserted. The cost of in- 
sertion afterward will in consequence 
be largely increased and may even be 
prohibitory. When such an omission 
is discovered, the make-up may be 
stopped in time if prompt notification 
reaches the publishers. 

In the case of insets, however, such 
an omission would make no differ- 
ence, these directions applying only 
to such cuts as are printed with the 
text. 
Resetting The cost of authors' alterations in 
around ft ^ 0Q ^ j n w j 1 j ( ^ 1 there are cuts in the 
Cuts .n . 

text is generally greater than in one 

without them, as the changes in the 
pages frequently cause resetting in 

44 



OF THE ILLUSTRATIONS 

order that the lines may be rear- 
ranged about the cuts. 

When an illustration has been taken Credit 

from another book, credit should be J or 

. for- 

given, in a line printed just under the rowed 

illustration itself at the right-hand Cuts 

side, permission being first secured 
from the author and the publishers 
of the book from which it is taken. 
In the list of illustrations printed in 
the front of the book, it is not neces- 
sary to repeat the credit. 



45 



VI 

OF PUBLICITY 

" Join we together, for the public good, 
In what we can." 

U Pari King Henry VI. 
Act I, Scene i. 



VI 

OF PUBLICITY 

AFTER the manuscript of a book Prelimi- 
has been accepted, the author nar y An ' 
should send to the publishers a de- merits 
scription of the book, comprising two 
or three hundred words. This should 
outline its scope and contents. The 
author may also send a brief sketch 
of his life and work and his portrait 
in photograph. The photograph 
should be a " silver print," not a soft- 
toned carbon or platinum print, from 
which good half-tones can not be 
made. A negative, however, is even 
better, because from it as many prints 
may be made as are wanted. 

The selection of the size of the Type and 
book, the style of the type page, the Binding 
kind of paper and style of binding, 
49 



OF THE MAKING OF A BOOK 

is usually left to the publishers, who 
in these matters are guided by the 
tastes of book-buyers and by the 
cost. The form of the book is a part 
of the publishers' contribution to its 
salability. Suggestions from authors, 
however, are of great assistance, par- 
ticularly as to illustrations and cover 
design. 
Review The author can often point out to 

Copies 1^ publisher legitimate ways by which 
the interests of the book may be ad- 
vanced. He can make suggestions as 
to sending out copies to reviewers by 
giving the names of those from whom 
the book is likely to secure attention. 
The names of teachers who might be 
interested in educational works would 
also be of value. Lists of various or- 
ganizations, such as clubs and socie- 
ties, whose members ought to know 
that the book has been published, 
might be supplied. These efforts 
should aim to place in the hands of 
50 



OF PUBLICITY 



all such persons the information which 
they might desire to have in connec- 
tion with their work or which might 
relate to their personal interests. Ac- 
curate and definite information alone 
should be given, laudation being care- 
fully avoided. 

The publishers are always ready to A Part- 
co-operate with the author in these nership 
matters. The two have virtually 
entered into a partnership in a book, 
and the interests of the one should be 
the interests of the other. 



51 



INDEX 

" For, by the way, I'll sort occasion 
As index to the story we late talk'd of." 
King Richard HI. 
Act II, Scene ii. 



INDEX 



ABBREVIATIONS, to be 
made plain, 14. 

Authors' alterations, cost of, 
how minimized, 17; cost of 
which authors may have to 
pay, 30; to be made on first 
galley -proofs, 31; letters to 
publishers about, to be avoid- 
ed, 34. 

Authors, those careful in their 
proof-reading, 3; errors that 
elude, 4; how their manu- 
scripts should be prepared, 
9-18; how indexes should be 
made, 15; how they should 
send manuscripts, 18; proofs 
sent to, 21-25; their galley- 
proofs, 29 ; correct ions charge- 
able to them, 30; should cor- 
rect on galley-proofs only, 
32; should answer queries, 
33; letters they should not 
write, 34; when correcting 
for new editions, 35; cor- 
rections charged to, 36; how 
they should furnish material 
for illustrations, 39 ; how they 
should deal with proofs of 
illustrations, 42-44; aid from, 
to publishers in giving pub- 
licity, 45-51; portraits of, 
49; in partnership with pub- 
lishers, 51. 



B 



OOKS, descriptions of, 49; 
type-pages for, 49; bind- 
ing of, 49 ; reviews of, 50. 



CAPITALS, how indicated, 
16. 

Chapters, how many a book 
should have, 12; titles for, 
12. 

Clips, use of, 10. 

Composition and type-setting, 
21. 

Cuts, valuable ones, how pro- 
tected, 40; in relief, how 
printed, 40; half-tones, how 
printed, 40; half-tones, when 
numerous, 41; size and style 
of, 42; proofs of, 42; credit 
for, when taken from other 
books, 45. 

DATE-LINES, when needed, 
13. 
Drawings, how to be furnished, 

39. 
Duplicate proofs, to be retained 
by authors, 29. 

ELECTROTYPE plates, 

when made, 23. 
Engraver's copy, to be fur- 
nished separately, 39. 
Engraver's proofs, what they 
show, 25. 

FOOT-NOTES, how to indi- 
cate, 13. 
Foreign words, to be made 

plain, 14. 
Foul proofs, described, 22; 
when sent to author, 23. 



55 



OF THE MAKING OF A BOOK 



Foundry-proofs, how distin- 
guished , 24 ; " guards' ' shown 
on, 24; reading of, 33. 

/^ALLEYS, described, 21. 

Galley-proofs, what they are, 
21 ; return of, to the printers, 
22; sent in duplicate, 29; as 
the place for corrections, 31 ; 
sometimes entirely reset , 32. 

•'Guards," use of, 24. 



H 



ALF-TONES, how printed, 
40; when very numer- 
ous, 41 ; size and style of, 42; 
proofs of, 42; how they af- 
fect the cost of alterations, 
44. 



ILLUSTRATIONS, proofs of, 
25; material for, 39; di- 
rections for, 39; proofs of, 
42; how to mark, 42. 
Indexes, how prepared, 15. 
Insets, described, 41. 
Inserted matter, how indi- 
cated, 10. 
Italics, how indicated, 16. 

MANUSCRIPTS, how best 
prepared, 9-12; should 
be sent complete, 14; sum- 
maries of, 17; final revision 
of, 17; how to send, 18; 
use of express for sending, 
18; return of, with proofs, 
18. 

Margins, liberal ones, 9. 

Mucilage, use of, 10. 



N 



EW editions,, corrections 
for, 35. 



PAGE number, when miss- 
ing, 10. 

Page-proofs, duplicates of, 29; 
resetting of, 31 ; sent to au- 
thors, 23; authors should not 
correct on, 32; return of, by 
authors, 33. 

Pages, making type into, 22- 
23; headings for, 23; proofs 
of, sent to authors, 23. 

Paper, kind preferred for 
manuscripts, 9; for half- 
tone cuts, 40; when two 
kinds must be used in a 
book, 41; coated, 40-41. 

Paragraphs, care in indicating, 
11; frequent ones desirable, 
12; how corrections may 
involve resetting of, 12. 

Photographs, how to be fur- 
nished, 39; wanted as por- 
traits of authors, 49. 

Pins, when not to be used, 10. 

Plate corrections, always cost- 
ly, 34. 

Plate-proofs, described, 24. 

Portraits, of authors, wanted, 
49. 

Preface, to be sent with manu- 
script, 14. 

Printing, a mechanical art, 3. 

Proof corrections, how they 
may be costly, 31; charges 
for, 36. 

Proof-reading, specimen page 
showing correct marks, 
frontispiece. 

Proofs, galley, 21, 22, 29, 31, 
32; foul, 22, 23; revised, 22; 
page, 23, 29, 31, 32, 33; 
foundry, 24, 33; plate, 24, 
34; engraver's, 25; of illus- 
trations, 25, 42, 44; red 
ink stamped on, 29; dupli- 



56 



INDEX 



cate, 29; charges for correc- 
tions on, 30; corrections on, 
when costly, 31, 36; queries 
on, 33; letters to publishers 
about corrections on, 34; 
return of, promptly, 35; of 
half-tones, 42. 

Proper names, to be made 
plain, 14. 

Publicity, aid authors can give 
publishers in, 49-51. 

Publishers, information asked 
from, 4; most manuscripts 
submitted to, in typewriting, 
10; submitting manuscripts 
to, for publication, 17; "read- 
ers" for, 17; percentage of 
cost of corrections they 
pay, 30; letters to, about 
corrections, 34; injury to, 
by delay in proofs, 35; 
material for illustrations to 
be furnished, 39; notifica- 
tions to, 44; assistance to, in 
publicity, 49-51; in partner- 
ship with authors, 51. 

Punctuation, care in indica- 
ting, 12; typewriter's error 
in, 17. 



QUERIES, should be an- 
swered, 33. 



Quotation marks, to be indi- 
cated plainly, 13. 

RED ink, when stamped on 
author's proofs, 29. 
Reviewer's copies, sending 

them out, 50. 
Revised proofs, described, 22. 

SMALL capitals, how indi- 
cated, 16. 

TABLES of contents, to be 
supplied with manuscript, 

14. 
Teachers, names of, 50. 
Technical books, heads and 

subheads for, 16; careful 

reading of foundry-proofs 

of, 24. 
Technical marks, sample page 

showing, frontispiece, 35. 
Title-pages, to be supplied 

with manuscript, 14. 
Type, when two or more kinds 

are used, 16. 
Type-pages, when ready for 

casting, 23. 
Type-setters, their wages, 18. 
Type-setting, hand and ma- 
chine, 21. 
Typewriting, preferable to 

handwriting, 9. 



57 



MAR 7 1904 



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